라캉의 주이상스 주체로 본 소포클레스의 <안티고네>

Abstract

This study aims at knowing how the subject of jouissance are embodied in Antigone based on Lacan's interpretation of Antigone. First of all, in order to explain Antigone as the subject of jouissance, the subject of drive, this paper examines into process of alienation and separation in subjectivization. The subject tries to recover alienated being through active separation, and the subject of jouissance can escape from metonymy of repetitive desire. In other words, the subject faced on the Other's lack practices the signifying cut with passing through the fantasy. In Lacan's innovative reading of Antigone under the relationship of unconscious and language, Lacan deconstructs Aristotle's term, tragedy. And he emphasizes that Sophocles portrays Creon quite simply as an ordinary human being. The ordinary human error of judgment, that is hamartia, cannot provide the impetus for the kathartic effect of tragedy. Thus hamartia is applicable solely to Creon, and is not, Aristotle's view notwithstanding, the central condition of tragedy. It is only Antigone herself who is the true heroine of the play. This paper shows that the separation of subject makes it possible for Antigone to reject as worthless all of Creon's arguments concerning Polyneices' criminality. Antigone's ‘raw’ words that contradict Creon's decree is developed in no ‘signifying chain’, but ‘nothing’. In effect her act is against community, thereby she is punished with symbolic death. Antigone unshakably pursues as she assumes her desire. Her desire is for ‘nothing’. This paper asserts that the word, ‘atē’ written by Sophocles and used by Lacan continuously designates metaphor of the Real. Antigone who knows the lack of the Other goes beyond atē with traversing the fantasy instead of metonymy of repetitive desire, she becomes the subject of Jouissance. After all, Lacan shows Antigone represents the subject of Jouissance. For Lacan Antigone is an ethical subject of Psychoanalysis. At a moment ‘desire is made visible’ Antigone herself becomes lost being, ‘das Ding’, and she has sublime beauty as a painful pleasure with ethical splendor and as an effect of tragedy